“When I first began writing I felt that writing should go on I still do feel that it should go on but when I first began writing I was completely possessed by the necessity that writing should go on and if writing should go on what had colons and semi-colons to do with it…”

—Gertrude Stein, Lectures in America

Cormac McCarthy’s Blood Meridian, or The Evening Redness in the West (1985) is something of an undergraduate exercise. It is a Faulknerian pastiche and, above all, hedonistic. Hedonism, as far as I’m concerned, is an enemy of art. Whereas Blood Meridian is verbally expansive, the language of McCarthy’s The Road (2006) is strictly delimited.

We follow a nameless father and son as they wander through a post-American void, a “blastosphere,” to use J.G. Ballard’s term. (Blastosphere = Not the blastula, but the “implicit shape of the way matter is perturbed by an explosion” (Will Self)). They scavenge for food and tools. They encounter those who seemingly show their seamiest impulses and who behave in an unseemly manner.

And yet I suspect that this is less a novel about a post-apocalyptic future than it is one about our atheological present. It is a theological allegory about a world from which the gods are manifestly absent. Eine gottesverlassene und gottesvergessene Welt.

We find grounds for this supposition in those passages in which the grey waste is described as “godless” [4] and “coldly secular” [274] and wastes of human flesh are named “creedless” [28].

“On this road there are no godspoke men” [32].

The worst thing that could be written about The Road is that it is a sappy religious allegory. Nabokov wrote of Faulkner’s Light in August:

The book’s pseudo-religious rhythm I simply cannot stand–a phoney gloom which does not pervade Faulkner’s work.

This does not mean that the book is unredeemable, however. What might have been a pedestrian trifle in the hands of a lesser writer has become something genuinely pedestrian with author McCarthy. The most distinctive feature of The Road is not the story that is told, but the manner in which McCarthy tells it: that is to say, the narrative. He writes so magically that a grey empty world is summoned forth vividly before our eyes.

It needs to be said and emphasized that McCarthy has almost completely superseded standard English punctuation in the writing of this novel. He strategically, willfully omits periods, commas, semicolons, and apostrophes throughout the work in order to equivocate, in order to multiply meanings, in order to enlarge the literary possibilities of language.

The relative absence of punctuation in the novel makes the words appear as if they were the things themselves. Of course, one could seize upon the conscious, literal meaning of the words. But does language not slip away from us? Are its meanings not dependent on the interpretive framework of the listener, of the reader? And is it not conceivable that the linguistic elisions reflect the consciousness of the central character?

Proper punctuation would disambiguate and thus flatten the sentences–sentences that are, liberated from such restrictions, both benign and lethal. We have before us a rhetorically complex novel, a work of literature that is rife with ambiguity.

And the non-punctuation makes us feel. If the “sentences” were punctuated in the traditional manner, we, as readers, would feel nothing. We would not feel, viscerally and viciously, the nightmarish world into which father and son have precipitated. We would not be infused with the chill of post-civilization.

The absence of standard punctuation in The Road is a fruitful, productive absence. It is a writerly, stylistic choice.

I hope I have persuaded my readers that McCarthy’s idiosyncratic use of punctuation is stylized. It most certainly is not unnecessary. One of the lessons that we can derive from the novels of McCarthy is how to apply typography in literary craftsmanship. Punctuation opens or closes the doors of meaning. Let me invent my own ambiguously commaless sentence for the purposes of elucidation. If I write, “I want to eat my parrot William,” this would seem to signify that I want to eat a parrot named William, a parrot that belongs to me. However, what happens if the comma is explicitly absent? Three contradictory interpretations are then possible: 1.) The narrator may be expressing the desire to eat a parrot that belongs to him or her, a parrot named William; 2.) The narrator, apparently, wants to eat a parrot that belongs to him or her and is addressing this remark to someone named William (“I want to eat my parrot, William”); 3.) The narrator may be expressing the desire to eat in general, and this comment is directed at his or her parrot, the name of which is William (“I want to eat, my parrot William”). Punctuation, depending on how it is used, can restrict or expand meaning. Commas articulate, determine meaning. The absence of a comma, on the other hand, opens up semantic possibilities inherent to language. Its absence opens the doors of ambiguity.

As I suggested above, McCarthy’s refusal to punctuate in the conventional manner is also intimately connected to the internal struggles of the main character and, perhaps, the psychology of the author. The narrator eschews commas because he fears death. I suspect that, similarly, McCarthy’s aversion to punctuation bespeaks a futile desire to escape his mortality–a charmingly fragile and recognizably human desire.

“[E]ver is no time at all” [28].

The ephemerality of the instant. Hence, the relative commalessness of McCarthy’s statements. A comma would pause an enunciation, rupture its continuity, the incessant flow of language, the drift of language into the future. What, after all, is a comma if not the graphic equivalent of a turn in breath, of an exhalation or an inhalation? Commas do not merely articulate a sentence. Commas stall, they defer, they postpone, they interrupt without stopping. A speaking that speaks ceaselessly, without commas, in order to outstrip the nightmare of history. McCarthy’s language moves forward endlessly, without giving readers a chance to catch their breath. This is a writing that is unidirectional and decidedly equivocal.

The thrusting momentum of McCarthy’s language fertilizes my suspicion that The Road is also a book about time. More precisely, a book about time’s three impossibilities: the impossibility of ridding oneself of the past completely, the impossibility of eternalizing the present, and the impossibility of encompassing the future.

The future is essentially unpredictable for the son, and the reader has no idea, at the novel’s close, what will become of him. Will the son survive? Will he be bred for cannibal meat, for anthropophagous delicacies? An infinitude of possibilities… And here we come to yet another strange intimacy between McCarthy’s singular style of punctuating and not punctuating and one of the leitmotifs of his novel: The eerily open-ended “conclusion” of THE ROAD is no conclusion at all, a conclusion without a period. And the novel lives on inside of the reader’s head and heart, growing within as if it were a vicious monster fungus.